"He moved like a dancer, which is not surprising; a horse is a beautiful animal, but it is perhaps most remarkable because it moves as if it always hears music."
— Mark Helprin (Winter's Tale)

"If it weren't for music, I would think that love is mortal."
— Mark Helprin (A Soldier of the Great War)

"As long as you have life and breath, believe. Believe for those who cannot. Believe even if you have stopped believing. Believe for the sake of the dead, for love, to keep your heart beating, believe. Never give up, never despair, let no mystery confound you into the conclusion that mystery cannot be yours."
— Mark Helprin (A Soldier of the Great War)

"Reason excludes faith," Alessandro responded, watching the blood-red mite as it made a dash for the rim. "It's deliberately limited. It won't function with the materials of religion. You can come close to proving the existence of God by reason, but you can't do it absolutely. That's because you can't do anything absolutely by reason. That's because reason depends on postulates. Postulates defy proof and yet they are essential to reason. God is a postulate. I don't think God is interested in the verification of His existence, and, therefore, neither am I. Anyway, I have professional reasons to believe. Nature and art pivot faithfully around God. Even dogs know that."
— Mark Helprin

"To be mad is to feel with excruciating intensity the sadness and joy of a time which has not arrived or has already been. And to protect their delicate vision of that other time, madmen will justify their condition with touching loyalty, and surround it with a thousand distractive schemes. These schemes, in turn, drive them deeper and deeper into the darkness and light (which is their mortification and their reward), and confront them with a choice. They may either slacken and fall back, accepting the relief of a rational view and the approval of others, or they may push on, and, by falling, arise. When and if by their unforgivable stubbornness they finally burst through to worlds upon worlds of motionless light, they are no longer called afflicted or insane. They are called saints."
— Mark Helprin (Winter's Tale)

"Words were all he knew; they possessed and overwhelmed him, as if they were a thousand white cats with whom he shared a one-room apartment."
— Mark Helprin

"But you won’t abdicate."
"Of course not. It’s my duty to go on, to maintain the line. I can’t possibly fail in that. It’s as if you and I were throwing a ball back and forth to establish a record, and had been doing so for a millennium. You cannot drop a ball that has remained airborne through good effort for most of a thousand years. You cannot stop an unlikely heart that has been beating for so long. I would rather die than betray continuity, for its own sake if for nothing else. And Britain needs a king, just as it needs motormen and cooks and a prime minister. Just as it needs soldiers who will die for it if they must. It’s my job, or it will be, but you should know that I’ve never wanted it. I was only born to it, as if with a deformity, to which I hope I can respond with grace."
Fredericka had been running her finger over the carpet, tracing a pattern in the way children do when they have learnt something overwhelming and are moved, but cannot say so. Freddy expected her to look up, with tears, and that in this moment she might have begun the long and arduous process of becoming a queen. She was so beautiful. To embrace her now, with high emotion flowing from her physical majesty, was all he wanted in the world. Her finger stopped moving, and she turned her eyes to him.
"Freddy?"
"Yes?" he answered.
"What’s raw egg? I read a recipe in She that called for a cup of raw egg. What is that?"
After a long silence, Freddy asked, "Which part of the formulation escapes you? Egg? Raw? The link between the two?"
"The two what?"
"Fredericka?"
"Yes, Freddy?"
"Would you like to go dancing?"
"Oh, yes Freddy!"
"Come then. We will.""
— Mark Helprin (Freddy and Fredericka)

"The shelf was filled with books that were hard to read, that could devastate and remake one's soul, and that, when they were finished, had a kick like a mule."
— Mark Helprin (Winter's Tale)

"Nothing is random, nor will anything ever be, whether a long string of perfectly blue days that begin and end in golden dimness, the most seemingly chaotic political acts, the rise of a great city, the crystalline structure of a gem that has never seen the light, the distributions of fortune, what time the milkman gets up, the position of the electron, or the occurrence of one astonishing frigid winter after another. Even electrons, supposedly the paragons of unpredictability, are tame and obsequious little creatures that rush around at the speed of light, going precisely where they are supposed to go. They make faint whistling sounds that when apprehended in varying combinations are as pleasant as the wind flying through a forest, and they do exactly as they are told. Of this, one is certain.

And yet, there is a wonderful anarchy, in that the milkman chooses when to arise, the rat picks the tunnel into which he will dive when the subway comes rushing down the track from Borough Hall, and the snowflake will fall as it will. How can this be? If nothing is random, and everything is predetermined, how can there be free will? The answer to that is simple. Nothing is predetermined, it is determined, or was determined, or will be determined. No matter, it all happened at once, in less than an instant, and time was invented because we cannot comprehend in one glance the enormous and detailed canvas that we have been given - so we track it, in linear fashion piece by piece. Time however can be easily overcome; not by chasing the light, but by standing back far enough to see it all at once. The universe is still and complete. Everything that ever was is; everything that ever will be is - and so on, in all possible combinations. Though in perceiving it we image that it is in motion, and unfinished, it is quite finished and quite astonishingly beautiful. In the end, or rather, as things really are, any event, no matter how small, is intimately and sensibly tied to all others. All rivers run full to the sea; those who are apart are brought together; the lost ones are redeemed; the dead come back to life; the perfectly blue days that have begun and ended in golden dimness continue, immobile and accessible; and, when all is perceived in such a way as to obviate time, justice becomes apparent not as something that will be, but something that is."
— Mark Helprin (Winter's Tale)

"Perhaps he was a fool, but he thought that if a work were truly great you would only have to read it once and you would be stolen from yourself, desperately moved, changed forever."
— Mark Helprin (A Soldier of the Great War)

"She knew words no one had ever heard of, and she used words every day that had been mainly dead or sleeping for hundreds of years."
— Mark Helprin

"A lot of people hate heroes. I was criticized for portraying people who are brave, honest, loving, intelligent. That was called weak and sentimental. People who dismiss all real emotion as sentimentality are cowards. They’re afraid to commit themselves, and so they remain ‘cool’ for the rest of their lives, until they’re dead—then they’re really cool."
— Mark Helprin

"I am not a well educated man except that I have educated myself, and,
because I have educated myself, what I say will not stand up, for lack of recognized authority. This in turn leaves me free to say what I will, in the hope that, like those small forces that do not threaten empires and are thus not fully pursued, the things in which I believe can survive in some high and forgotten place until the power of empire subsides.
And although I know that few will listen to or credit this, I think we are in a lost age, in which holiness and charity have been traded for the victory and penetration of knowledge, though all the knowledge in the world has not brought us any further than where we can go without it even in the outermost halls of grace. I believe that more is to be known and apprehended from the beauty of a face than in delving, no
matter how deep, simply into how things work, no matter how marvelous that may be. The greatest substance of the world is immaterial, the province of the heart, and its study cannot be forced or reasoned. Merely to touch upon the edge of things in parsing their mechanics is to forswear their fullness, for the entry to this fullness lies not in science but in art. I cannot prove this, for it cannot be proven, but I claim, assert, and have seen it."
— Mark Helprin

"No one ever said that you would live to see the repercussions of everything you do, or that you have guarantees, or that you are not obliged to wander in the dark, or that everything will be proved to you and neatly verified like something in science. Nothing is: at least nothing that is worthwhile. I didn't bring you up only to move across sure ground. I didn't teach you to think that everything must be within our control or understanding. Did I? For, if I did, I was wrong. I fyou won't take a chance, then the powers you refuse because you cannot explain them, will, as they say, make a monkey out of you."
— Mark Helprin (Winter's Tale)

"And although I know that few will listen to or credit this, I think we are in a lost age, in which holiness and charity have been traded for the victory and penetration of knowledge, though all the knowledge in the world has not brought us any further than where we can go without it even in the outermost halls of grace. I believe that more is to be known and apprehended from the beauty of a face than in delving, no matter how deep, simply into how things work, no matter how marvelous that may be. The greatest substance of the world is immaterial, the province of the heart, and its study cannot be forced or reasoned. Merely to touch upon the edge of things in parsing their mechanics is to forswear their fullness, for the entry to this fullness lies not in science but in art. I cannot prove this, for it cannot be proven, but I claim, assert, and have seen it."
— Mark Helprin

"Justice can sleep for years and awaken when it is least expected. A miracle is nothing more than dormant justice from another time arriving to compensate those it has cruelly abandoned. Whoever knows this is willing to suffer, for he knows that nothing is in vain."
— Mark Helprin (Winter's Tale)

"I like the race, rather than the winning.
Do you really?
Yes, I've imagined great victories, and I've imagined great races. The races are better."
— Mark Helprin

"He could say nothing. He had no right to be there, he had already been profoundly changed, he was no good at small talk, she was half naked, it was dawn and he loved her."
— Mark Helprin (Winter's Tale)

"You believe in entropy, which postulates that all phenomena tend to sink to lower levels of organization and energy, and in evolution, which postulates that the history of life has been just the opposite. People like you credit both theories. It’s de rigueur. Is that reason rational? I say, f*ck off."
— Mark Helprin (A Soldier of the Great War)

"He knew very well that love could be like the most beautiful singing, that it could make death inconsequential, that it existed in forms so pure and strong that it was capable of reordering the universe. He knew this, and that he lacked it, and yet as he stood in the courtyard of the Palazzo Venezia, watching diplomats file quietly out the gate, he was content, for he suspected that to command the profoundest love might in the end be far less beautiful a thing than to suffer its absence."
— Mark Helprin (A Soldier of the Great War)

"Shall I show you the half-dozen other rooms in this hospital where these scenes are repeated? And what of the other hospitals? Printing House Square is small and tame. Even in the private institutions uptown you can see a show just like this: there is nothing as disgusting as an obese cadaver in which all the futile pleasures of many years finally arise to fill it full-blown with stinking rotten gases. The city is burning and under siege. And we are in a war in which everyone is killed and no one is remembered."
"What am I supposed to do, then," Peter Lake asked, "if it's like you say?"
"Is there someone you love?"
"Yes."
"A woman?"
"Yes."
"Then go home to her."
"And who will remember her?"
"No one. That's just the point. You must take care of all that now."
— Mark Helprin (Winter's Tale)

"Truth is no rounder than a horse's eye."
— Mark Helprin (Winter's Tale)

"Such a thing as the child left alone to die in the hallway was unknown on the marsh. But here, in the dawn, was mortality itself. In the city were places to fall from which one could never emerge -- dark dreams and slow death, the death of children, suffering without grace or redemption, ultimate and eternal loss. The memory of the child stayed with him. But that was not to be the end of it, for reality went around in a twisting ring. Even the irredeemable would be redeemed, and there was a balance for everything. There had to be."
— Mark Helprin (Winter's Tale)

"All rivers run full to the sea; those who are apart are brought together; the lost ones are redeemed; the dead come back to life; the perfectly blue days that have begun and ended in golden dimness continue, immobile and accessible; and, when all is perceived in such a way as to obviate time, justice becomes apparent not as something that will be, but something that is."
— Mark Helprin (Winter's Tale)

"Winter then in its early and clear stages, was a purifying engine that ran unhindered over city and country, alerting the stars to sparkle violently and shower their silver light into the arms of bare upreaching trees. It was a mad and beautiful thing that scoured raw the souls of animals and man, driving them before it until they loved to run. And what it did to Northern forests can hardly be described, considering that it iced the branches of the sycamores on Chrystie Street and swept them back and forth until they rang like ranks of bells."
— Mark Helprin (Winter's Tale)

"Now that music is faithfully reproducible, musicians are not needed as once they were. And music itself has changed. Though small cadres of classicists keep the sacred and ineffable alive, they are under siege by coarse generations whose music is hardly as musical as a bus engine or a chain saw. Something must have occurred during their mothers' pregnancies. How else is it possible to explain that playing Bach keeps them away from public spaces the way iron spikes drive pigeons from cathedral ledges?"
— Mark Helprin

"We are all perfect clocks that the Divinity has set to ticking when, even before birth, the heart explodes into its lifelong dance."
— Mark Helprin (Memoir from Antproof Case)

"The best thing to do was to stop it while he still could, since it was something that would lead nowhere, painfully."
— Mark Helprin

"In the same way that certain sections of the city were mortal battlegrounds, some parts of the calendar were always more warlike than others, and during the days between Christmas and the new year all elements seemed to conspire to subdue the soul. Fire, rain, sickness, cold, and death were everywhere spread through the dark as in a painting of hell. People struggled until exhaustion, giving everything they had, and the days were packed with trials and mysteries."
— Mark Helprin (Winter's Tale)

"Why do you think great leaders and great orations are coincident with wars, revolutions, and the founding or ending of governments and states? Common interests then are so clear that speeches are effortlessly drawn, but at present neither the facts nor the consequences are sufficiently clear to make oratory legitimate. This is the kind of war that will wind on and make fools of its partisans and opponents both."
— Mark Helprin (A Soldier of the Great War)

"To see the beauty of the world is to put your hands on lines that run uninterrupted through life and through death. Touching them is an act of hope, for perhaps someone on the other side, if there is another side, is touching them, too."
— Mark Helprin (A Soldier of the Great War)

"He felt as if he were paying for the privilege of music with portions of his life and body. But it was well worth it."
— Mark Helprin

"I've imagined great victories, and I've imagined great races. The races are better."
— Mark Helprin

"A good river is nature's life work in song."
— Mark Helprin (Freddy and Fredericka)

"They gave themselves up to the stars the way swimmers can surrender to the waves, and the stars took them without resistance."
— Mark Helprin (Winter's Tale)

"Quite possibly there's nothing as fine as a big freight train starting across country in early summer, Hardesty thought. That's when you learn that the tragedy of plants is that they have roots."
— Mark Helprin (Winter's Tale)

"[When] he's here, he's always reading. He says books stop time. I myself think he's crazy...Don't tell anyone, but when he reads something that he likes he gets real happy, turns on the music, and dances by himself, or with a broom sometimes."
— Mark Helprin (Winter's Tale)

"Then the bow orchestra began to play an apocalyptically beautiful canon, one of those pieces in which, surely, the composer simply transcribed what was given, and trembled in awe of the hand that was guiding him."
— Mark Helprin (Winter's Tale)

"Why do people resist [engines, bridges, and cities] so? They are symbols and products of the imagination, which is the force that ensures justice and historical momentum in an imperfect world, because without imagination we would not have the wherewithal to challenge certainty, and we could never rise above ourselves."
— Mark Helprin (Winter's Tale)

"I see no justice in that plan."
"Who said," lashed out Isaac Penn, "that you, a man, can always perceive justice? Who said that justice is what you imagine? Can you be sure that you know it when you see it, that you will live long enough to recognize the decisive thunder of its occurrence, that it can be manifest within a generation, within ten generations, within the entire span of human existence? What you are talking about is common sense, not justice. Justice is higher and not as easy to understand -- until it presents itself in unmistakable splendor. The design of which I speak is far above our understanding. But we can sometimes feel its presence.
"No choreographer, no architect, engineer, or painter could plan more thoroughly and subtly. Every action and every scene has its purpose. And the less power one has, the closer he is to the great waves that sweep through all things, patiently preparing them for the approach of a future signified not by simple human equity (a child could think of that), but by luminous and surprising connections that we have not imagined, by illustrations terrifying and benevolent -- a golden age that will show not what we wish, but some bare awkward truth upon which rests everything that ever was and everything that ever will be. There is justice in the world, Peter Lake, but it cannot be had without mystery."
— Mark Helprin (Winter's Tale)

"their powerlessness, innocence, and imagination fused to enable them to turn time inside out, travel on the wind, and enter the souls of animals."
— Mark Helprin (Winter's Tale)

"You’ll join me sooner than you know in a place with . . . no illusions, where the truth is the only architecture, the only color, the only sound--where that which we sense merely on occasion, and which takes us up and gives us the rare and beautiful glimpses of the things we truly love, flows in deep rivers and tumbles about like clouds in the sky."
— Mark Helprin (A Soldier of the Great War)

"Perhaps things are most beautiful when they are not quite real; when you look upon a scene as an outsider, and come to possess it in its entirety and forever; when you live in the present with the lucidity and feeling of memory; when, for want of connection, the world deepens and becomes art."
— Mark Helprin (Ellis Island and Other Stories)

". . . you can't do anything absolutely by reason. That's because reason depends on postulates. Postulates defy proof and yet they are essential to reason."
— Mark Helprin (A Soldier of the Great War)

"...to be paid for one's joy is to steal."
— Mark Helprin (Winter's Tale)

"Young Bindo Altovini, looking out from time, made a perfect coalition with the mountains, the sky, and the tall redheaded woman who had bent over just slightly to examine a raging battle that was long over. Alessandro imagined that Bindo Altovini was saying, half with longing, half with delight, "These are the things in which I was so helplessly caught up, the waves that took me, what I loved. When light filled my eyes and I was restless and could move, I knew not what all the color was about, but only that I had a passion to see. And now that I am still, I pass on to you my liveliness and my life, for you will be taken, as once I was, and although you must fight beyond your capacity to fight and feel beyond your capacity to feel, remember that it ends in perfect peace, and you will be as still and content as am I, for whom centuries are not even seconds."

In the eyes of Bindo Altoviti, Alessandro saw wisdom and amusement, and he knew why the subjects of paintings and photographs seemed to look from the past as if with clairvoyance. Even brutal and impatient men, when frozen in time, assumed expressions of extraordinary compassion, as if they had reflected the essence of their redemption back into the photograph. In a sense they were still living. "
— Mark Helprin (A Soldier of the Great War)

"The classic business story is much like the classic human story. There is rise and fall; the overcoming of great odds, the upholding of principles despite the cost, questions of rivalry and succession, and even the possibility of descent into madness."
— Mark Helprin

"I'm not afraid," Rafi said.
"Why not?"
"If I die tomorrow it will have been useless to have been afraid today."
— Mark Helprin (A Soldier of the Great War)

"The greatest blizzards start with the finest snow."
— Mark Helprin (Memoir from Antproof Case)

"Then in the darkness and purity of the meadows he began to feel that the world had many secrets, that they were shattering even to glimpse or sense, and that they were not necessarily unpleasant. In certain states of light he could see, he could begin to sense, things most miraculous indeed. Although it seemed self-serving, he concluded nonetheless, after a lifetime of adhering to the diffuse principles of a science he did not know, that there was life after death, that the dead rose into a mischievous world of pure light, that something most mysterious lay beyond the the enfolding darkness, something wonderful. "
— Mark Helprin (A Dove of the East and Other Stories)